Structural Functions in Music (Dover Books on Music, Music History)

Title......Page 1
Copyright......Page 2
Dedication......Page 3
Contents......Page 5
Preface to the dover edition......Page 9
Preface to the first edition......Page 11
Structural functions in music......Page 13
Introduction......Page 15
Introductory notes......Page 41
Introductory comments concerning tonal and linear functions......Page 43
The concept of multileveled function further explored......Page 51
The ideas of primacy and hierarchy among pitch-classes and pitch-class-complexes: generic and particular tonal systems......Page 54
Tonal systems of compositions: regions and interrelations......Page 55
The concept of a generic tonal system explored in theory......Page 61
Primary and secondary tonics and their structural and auxiliary functions: multileveled (multiple) tonal-harmonic functions: tonic and dominant forms......Page 66
Essential and auxiliary linear functions of pitches and pitch-complexes, their hierarchic basis often determined by tonal and cadential factors......Page 75
Tonal order as an inflation of harmonic order and sucession......Page 81
Tonal Fluctuation and techniques of immediate succession by which it is effected......Page 83
Tonal organization as a pattern of relative stability opposed to relative flux......Page 89
Tonal rhythm......Page 92
The questions of tonal intersection, direction, and distance; intervals of fluctuation; high-level chromatic successions and nondiatonic tonics; the interchangeability of modes and the "equivalence" of parallel tonics......Page 93
Concepts of tonal progression and tonal recession......Page 98
Concepts of harmonic and melodic progression and recession; complementarities and counteractions of element-successions......Page 100
Some exemples of quasi-tonal order in melodic and composite functions......Page 101
Melodic curve......Page 108
Some further observations concerning melodic analysis......Page 114
Some particular issues of harmonic analysis in later styles......Page 117
Procedures of analysis; symbolic representations of melodic and harmonic functions and affiliations......Page 126
Gregorian chant, Veni creator spiritus......Page 134
Two Preludes from Fischer, Ariadne Musica......Page 139
Bach, "Drauf schliess ich mich in deine Hände" from Motet, Komm, Jesu, komm......Page 141
Beethoven, Symphony No. 2 in D, Op. 38, fourth movement. Representations of the tonal system and tonal rhythm......Page 148
Wolf, "Das verlassene Mägdlein" from Gedichte von Mörike......Page 152
Ravel, "Le Martin-Pêcheur" form Histoires Naturelles......Page 156
Bartók, String Quartet No. 2, Op. 17, third movement......Page 161
Webern, Four Pieces, Op. 7, for violin and piano, No. 1......Page 176
Berg, Four Pieces, Op. 5, for clarinet and piano, No. 4......Page 180
Summary notes on the universality and significance of the principle of hierarchic tonal order......Page 183
Concluding notes......Page 193
NOTES......Page 194
Introductory notes......Page 198
Textural progression, recession, and variation as structural factors......Page 200
Types of musical texture; problems of classification and terminology......Page 205
Some further considerations of terminology and aspects of texture......Page 209
Texture and style......Page 214
Textural rhythm......Page 215
Qualitative and quantitative values......Page 218
Density and dissonance......Page 223
Interlinear independece and interdependence......Page 227
Imitation, a universal feature of many polyphonic styles; multiple counterpoint......Page 230
The activation of simple textures......Page 236
The complementary and compensatory dispositions or texture in relation to other element-structures......Page 246
Some textural functions in delineation of form......Page 250
Textural processes in progression toward intensity, in recession toward cadence, and in anticipation of thematic statement......Page 255
Texture as space......Page 262
Motivic texture; the provocative effect of unusual textures......Page 268
Level of analysis and of hierarchy in the textural structure......Page 269
Telemann, Fantasy No. 4 for violin alone, first movement......Page 271
Bach, "Denn das Gesetz des Geistes," from Motet, Jesu, meine Freude......Page 278
Brahms, Symphony No. 1 in C minor, Op. 68, first movement (Un poco sostenuto): introduction......Page 280
Dallapiccola, Goethe-Lieder for soprano and three clarinets (No. 1, "Im tausend Formen")......Page 294
Serialism and texture; texture as a product of chance operations......Page 302
Concluding notes......Page 307
NOTES......Page 309
Introductory notes......Page 315
Fundamental concepts of rhythm......Page 319
Rhythm as activity and motion......Page 320
Rhythmic pattern as motivic......Page 324
The rhythms of element-successions......Page 327
A theoretical approach to the consideration of meter as accent-delineated grouping......Page 331
The concept of meter as, by definition, subject to fluctuation......Page 332
Meter as one manifestation of grouping in music......Page 333
Meter as opposed to the notated bar-line......Page 338
Impulses and their functional differentiations......Page 340
Functions of the cadential (conclusive) impulse......Page 343
Criteria of accentuation......Page 349
Further comment concerning diverse impulse functions......Page 359
Levels of metric structure and analysis......Page 363
Metric irregularity: horizontal and vertical noncongruity......Page 376
The problem of preconditioning metric structure and syncopation......Page 386
Stability and flux, metric progression and recession; compensatory and complementary functions in relation to other element-structures......Page 391
Beethoven, Symphony No. 8 in F, Op. 93, first movement......Page 403
Chopin, Prelude in E, Op. 28, No. 9......Page 408
Webern: Three Pieces, Op. 11, for cello and piano, No. 3; Five Pieces, Op. 5, for string quartet, fourth movement......Page 411
Some twentieth-century problems in rhythm and meter; recent developments in serialism of durational units - theory and pratice......Page 422
Concluding notes......Page 431
NOTES......Page 433
Appendix one - Editorial notes......Page 439
Appendix two - Translations......Page 441
Indexes......Page 445
Index of musical examples and citations......Page 447
Index of subjects, names, and terms......Page 451